Variety (December 1957)

54 MUSIC /iSfSETr Wednesday, December 11, 1957 Jocks, Jukes and Disks By MIKE GROSS Ricky Nelson (Imperi al). “WAITIN’ IN SCHOOL” (Reeve!) is right up the teenagers’ alley in beat and lyric idea and Ricky Nel¬ son makes it all pay off. “STOOD UP” (Commodore!) continues his fling into the rockabilly field with another likely click contender. Del Vikin gs (M ercury). “YOUR BOOK OF LIFE” (Pincus & Sons*) Is a slick rock ’n’. roll-styled entry with a meaningful' lyric idea that should lift the Del Vikings to the top of the spinning heap again. “SNOWBOUND” (Shannont) has a spirited calypso drive that will move fast in the juke field. Roy Hamilton (Epic). “THE workover of the classic Latino dance. The Petticoats (Prep). ; “I AIN’T GONNA DO IT NO MORE” (Joy*) swings across the grooves with the kind of bounce that will attract spins. “MANHATTAN MOUN¬ TAIN” (Olman*) is a schmaltzy ballad with a neat melodic turn which the girls use to advantage.' Mario Lanza (RCA Victor). “NEVER TILL NOW” (Robbins*) gets; the standard big-tenor treat¬ ment which ought to win new fans for the tune out of Metro’s “Rain- tree County.” “COME DANCE WITH ME” (Ben Bloom*) is a dra¬ matic entry out of M-G’s“SEVEN RICKY NELSON (Imperial) DEL VIKINGS . _....__;... (Mercury) ... ROY HAMILTON (Epic) THE CHORDETTES ( Cadence) MITCH MILLER ORCH. ...... RIVER ( Columbia) JOE VALINO .......... (United Aritsts) ....... MALCOLM DODDS & TUNEDROPS (End) WAITIN’ IN SCHOOL Stood Up .... YOUR BOOK OF LIFE Snowbound, THE RIGHT TO LOVE Don’t Let Go PHOTOGRAPHS Baby of Mine KWAI-COLONEL BOOGIE Hey Litile Baby declaration of love ....'.. .Legend of the Lost UNSPOKEN LOVE Tonight RIGHT TO LOVE” (Sheldon!) is a big, sentimental ballad that Roy Hamilton power-pipes into a clicfco sljce. “DON’T LET GO” (Roose- veltt) places the crooner in the breathless r’n’r groove that’ll at¬ tract the juve crowd. The Chordettes! (Cadence). “PHOTOGRAPHS” (Winnetonf) puts the Chordettes in top-bracket focus with a breezy, light-beated entry that makes sense. “BABY ► OF MINE" (Thunderbird*) has an easygoing flavor which the girls make more attractive via their top harmonizing. Mitch Miller Orch (Columbia)! “MARCH FROM RIVER KWAI- COLONEL BOGEY” (Columbia Pictures-Boosey & Hawkes*) gets a. vivid whistling-marching show¬ casing in Mitch Miller’s hands and it’s sure to roll to a big payoff. “HEY LITTLE BABY” (Kahlt) is a happy spirited item that adds up to good jukebox fun. Joe Valine (United Artists); “DECLARATION OF LOVE” (Un- art*) starts off the new label with a ballad entry that has some rock¬ ing overtones and Joe Valino * makes it pay off with his extended- vowel treatment and power-piping: “LEGEND OF THE LOST” (Un- art!) is just par for the pic title theme course despite some nice vocal work. Malcolm Dodds v and The Tune- drops (End). “UNSPOKEN LOVE” (Mack Martin!) looks like a noisemaker that should lead the field of Tocking ballad entries. “TONIGHT” (Maureerit) has a ro¬ mantic Latino lilt that’s cleanly vocalized. Hugo Winterhalter Orch (RCA Victor). “BLUE LOVERS LA¬ MENT” (Ben Bloom*) has a moody, yet pretty, melodic mood that Hugo Winterhalter’s orch sets up in fine Style. “MOONLIGHT IN CAPRI" (Porgiet) shows off an attractive melody set along Italian lines. Sammy Davis Jr. (DeCca).' “HALLELUJAH I LOVE HER SO” /Progressive! > is a rocking shouter 'that Sammy Davis Jr. whips out with lots of savvy. “I’M COMIN’ HOME” (Conley!). continues the rocking tour and he again turns it into a fine disk spree. Eddie Lawrence (Coral). “THAT HOLIDAY SPIRIT” (MeriQk!) is an inspired Yule monolog in which Eddie Lawrence as “Charlie Scrooge” hates everything and makes it known in a rib-tickling manner that attract plays until Dec. 25. “THE MERRY OLD PHILOSOPHER” (Merickt) phil¬ osophizes on the “not-so-happy” season in his folksy, funny Way. .. Jack Jones (Capitol). “BORN TO BE LUCKY” (Danbyt) has an easy rhythm beat and likable Vocal treatment that will appeal to some spinners. “FOR CRYING OUT LOUD” (Roosevelt!) gets by with a melodic line that’s more inter¬ esting than the lyric angle. Edmundo Ros Orch (London;, “COLONEL BOGEY” (Roosey & Hawkes*) gets a dash of chile into the marching theme that mrkes it an attractive spinning bet. “SPANISH GYPSY DANCE" (Morrot) is a flashy instruments' Hills of Rome” that Lanza belts and a choral group lilts. Wes Bryan (United. Artists). TINY SPACEMAN” (Danby!) sets newcomer Wes Bryan in a rocki - scat groove which will win him some spinning attention. “LONE¬ SOME LOVE” (Unart!) has a juke- flavored beat which he gets off in a way that will please the Coke set. Teddy Randaso (Vik). “RED RUBY LIPS” (Quintet!) is a color¬ ful, swinging rocker that makes for lively listening. “I’LL NEVER SMILE AGAIN” (Pickwick*) is in good hands again as Teddy Ran- dazzo takes over. Lew Douglas Orch (Fraternity). ISLAND OF BIMINI” (Buckeye*) has a lilting hula style that should be good programming fodder for the jocks. “SATURDAY AFTER¬ NOONS” (Brandom*) has a lot of drive but it’s limited strictly to the football season. Anisteen Allen (Capitol). “DON’T PULL THE WOOL” (Dan¬ by!) blends a good beat and a styl¬ ish vocal into an attractive Slice. “THAT’S THE MUSIC FOR ME” (Fisher*) is a flashy modem: pitch for an ‘‘oldfashioned song” that could develop into a Click material piece. . Neil Sedanka (Decca). “LAURA LEE” (Norman-Leonardf) is the first time out for the teenage com- LAWRENCE WELK And His CHAMPAGNE MUSIC 3rd Consecutive Year Dodge Dancing Party ABC-TV—Sat. 9-10 P.M., E.S.T. For Dodge Dealers of America Top Tunes and New Talent ABC-TV. Mon. 9:30-10:30 pm, E.S.T. Dodge and Plymouth Coral Records Thesaurus Transcriptions_ poser-crooner-pianist and. he fits the rocking bill. The kids should go for it. “SNOWTIME” (Norman- Lebnard!) sets the rocking beat in a wintery mood.. add it works, too. Cab. Calloway (Gone). “THE BLUES CAME TO DINNER" (Chappell*) has Cab Calloway, sing¬ ing out; a pleasing blues, melody with an r’n’r choral support.. “TO¬ MORROW NIGHT” (Bourne*) is a fair blending of the ballad and blues patterns. Richard Himber Orch (Coral). “IN THAT HAT” (Miller*) sets up an oldfashioned ballad style that’s easy on the ear. “TODAY” (Mil¬ ler*) is another melodic pleaser but hard to push in. current market. Al Casey (Liberty). “WILLA MAE” (Gregmark!) is a frantic r’h’r piece grooved in the familiar swinging formula that Al. Casey seems , to have down pat. “SHE GOTTA SHAKE” (Gregmark!) has a rocking blues quality that’s been done better, before. The Escorts (OP Inc.) “MISTY EYES” (Fellows!) fits Current rock¬ ing tastes in design and delivery that’s pegged for the teeners. “ARROW TWO HEARTS” (Fel¬ lows!). is a quietly pleasing. ballad. * ASCAP. ! BMI. (Compiled by Sam Goody% leading New York disk retailer whose global mail-order operation reflects not only the national market , but internationally). Artist 1. Original Cast 2. Sound Track 3. Orignal Cast 4. Frank Sinatra 5. The Weavers 6. Original Cast 7. Nat King Cole 8. Harry Belmonte 9. Original Cast 10. Mahtovani 11. Harry Belafonte 12. EUa Fitzgerald 13. Nat Cole 14. Sound Track 15. Sound Track 16. Count Basle li. Pete Seeger 18. Roger Williams 19. Original Cast 20. Modem Jazz Quartet Title West Side Story Around World 80 Days My Fair Lady Where. Are You?. At Carnegie Hall Jamaica . . Just One of Those Things Calypso Bells Are Ringing Film Encores Sings of Caribbean Sings Rodgers & Hart Love Is The Thing Pal Joey Pajama Game Basle in Lodon Favorite Ballads Fabulous Forties Simply Heavenly Modem Jazz Quartet Label Columbia Decca Columbia Capitol Vanguard. RCA Victor Capitol RCA Victor Columbia London RCA Victor Verve “Capitol Capitol Columbia Verve Folkways Kapp Columbia Atlantic Decca Pacts Felicia . Songstress Felicia Sanders has been inked to a Decca. pact. Her first sides for Decca will couple “The Scing Frpm Gervaise,” a tune from the current French film, and “Goodnight My Someone,” from the forthcomihg Broadway musical, “The Music-Man.” Miss Sanders hit big a few; years ago with her vocal of “The Song Front. Moulin Rouge,” with the Percy Faith orch on the Columbia label. Jane Morgan: “Fascination” (Kapp). Here is a melodic recap of some of the previously released Jane Morgan singles including her clicko “Fascination.”. The title tune sets the warm and lush mood for the package which includes siich. romantic pieces as “It’s Not For Me To Say,” “An Affair To Remember,” ‘‘Two. Different Worlds” and “Around The World,” tn name some. Barbara Ruick-Jack Cassidy- Alien Case-Roger White: “Oh, Kayt” (Columbia).' This 1926 tuner by George & Ira Gershwin is the latest of Columbia prexy Goddard Lieberson’s show Score recrea¬ tions. Lieberson plays it like an. original cast set and manages to get some fun into the grooves via his stock company vocal troupe and an okay Gershwin score which [ stands out mainly for “Someone To Watch Over Me,” ‘-Clap Yo’Hands” and “Do, Do, Do.” Lehman Engel’s orch and chorus direction gives it the proper Shubert Alley touch and makes it a solid item for the Broadway musical buffs. Three Suns: “The Things I Love In Hi-Fi” (RCA Victor). The Three Suns, always a slick instru¬ mental trio, are backed by pipe organist Alfredo Mendez ; for a rich sound impact. Combo swings through a heat repertory ranging from such oldies as “Honeysuckle Rose” to “Music, Music.” Ella ’ Fitzgerald: “Like Someone In Love” (Verve). There’s a lot of Ella on the wax market these days j but the sets never seem to get in each ; ether’s way because of thrush’s capacity to change pace | and style for topnotch effect in each outing. “Like Someone In Love” puts her in a mellow ballad mood that caresses the ear through 15 standouts. Package opens with a captivating treatment of “Mid¬ night Sun” and never lets up. [Figures in parentheses indicate, number of weeks song has beeii in the Top 10] Other credits belong to Frank DeVol for his arranging and baton¬ ing and Stan Getz for his moving sax Solos. Louis Prima Orch: “The Wildest Show At Tahoe” (Capitol). For those who couldn’t get to Harrah’s Club at Lake Tahoe (on. the Cali- fomia-Nevada border) when Louis Prima was kicking up a storm there, this is the next best thing. The package, recorded on the spot, retains the drive and excitement: that go into, a Prima performance. Iri addition to the maestro’s flambor. yant crossing, there’s some fine vocalling by. Keely Smith, especial¬ ly “A Foggy Day,” and some hot sax work by Sam Butera.. Tina Louise:. “It’s . Time For Tina” (Concert Hall).. Tina Louise, has a breathless, throaty approach to a song that makes it seem in¬ teresting. The package is sort of ar. “evening-in , T ith Tina” with the tunes following a story line from the opening “Tonight Is The Night” to the Windup “Goodnight, My Love.” In between, she gets some vocal s.a. into the grooves. “Larry Kert Sings” (Epic). Larry Kent the male lead of the Broad¬ way tuner click; “West Side Story,” takes the folk route for his debut album bn Epic. He’s got a good ballad feel for his material, which for the most part is; made up of seldom-heard stuff. Orch. backing/ split among Fred Hellerman, Sam¬ my Benskin, and John Carisi, helps sustain the neat folk quality. Ronnie. Deauville: “Smoke Dreams’’ (Era). Ronnie Deauville takes 13 tunes for a pleasant vocal ride in this package. He’s got an easy, intimate manner that gets the. most out of the ballad offerings. Lloyd Shaffer’s arranging-conduc- tihg helps him along the Way. Burl Ives: “In the Quiet of the : Night” (Decca). In the realm of. folk balladeering Burl Ives is hard to top. Here again is another vivid sampling of the Ives tech¬ nique. It’s a standout addition to the folk music shelf: Doris Day: “Day By Night” (Columbia). That Doris Day can: give a jpop tune plenty of. style is again evidenced in this roundup of intimate “night” songs. With Paul Weston supplying a soft- and ap¬ propriate orch backing, the thrush warms up the grooves. Occasional¬ ly she throws in a jazz tune, but it’s always just right for the overall mood. Alan Copeland: “No Sad Songs for Me” (Coral). Tunes in this package are right up Alan Cope¬ land’s alley, Unlike many of the songs he’s assigned for his slot on NBC-TV’s “Your Hit Parade,” this songbag is full of taste and mean¬ ing. His song knowledgability is spotlighted by the inclusion of several seldom heard items, but nifties all the' same. Among them are “Love Turns Winter to Spring,” “The Music Stopped.” “That Happy Feeling” and “As Long as There’s Music.” In rhythm or ballad (arranged^ by Frank Comstock), Copeland comes over m fine form! Enoch Light & Charleston City All Stars: “The Roaring 20’s” (Grand Award), This is another excursion into the musical pact with Enoch Light as the batoneer- guide. He’s roimded up two dozen items representative of the 1920s and with the aid of the Charleston City All-Stars, the. twot-pocket package emerges as a happy frolic. Vocals by such grouos as “The Hot-Chas” and ‘The FlanperetteS” sustain the buoyant spirit. “Hugh O’Brian Sinks’’ (ABC- Paramount). Video’s Wyatt Earp (Hugh O’Brian) gets Off to an okay (Continued on page 60)